Years
2019 2018
Folk Baroque
2018-10-18

Camerata Tinta Barocca presents:

FOLK BAROQUE

18 October 2018

Odeion

19:30

with

  • Bridget Rennie-Salonen (traverso)
  • Darryn Prinsloo (recorder)
  • Annien Shaw (Baroque violin)
  • Uwe Grosser (theorbo, Baroque guitar)
  • Cheryl de Havilland (Baroque cello)
  • Erik Dippenaar (harpsichord, director)

Camerata Tinta Barocca (CTB), founded in Cape Town by violinist Quentin Crida (July 2004), is the leading South African Baroque ensemble playing on period instruments. Its name is derived from the musicians' passion for Baroque music and red wine. The members include some of Cape Town's finest musicians who embrace a historically informed performance practice approach. CTB's concerts have been broadcast on Fine Music Radio and have received critical acclaim in the Cape Times and Die Burger. Mostly playing music from the 18th century, CTB has worked with leaders in their fields, such as Baroque violinists Antoinette Lohmann and Pauline Nobes; violinists David Juritz, Darragh Morgan and Zoe Beyers; countertenor Christopher Ainslie; male soprano Philipp Mathmann; recorder player Stefan Temmingh; mandolin player Alon Sariel and conductor Arjan Tien.

Apart from CTB's annual concert series in their home, St Andrew's Presbyterian Church (Cape Town), the ensemble regularly accompanies opera and oratorio performances, and performs in festivals throughout South Africa. CTB also has an active outreach component, which includes an annual education tour to the West Coast (the Matzikama Music Week), the Sunshine Concerts (an outreach programme for people unable to attend concerts because they are elderly, indigent or disabled in some way), as well as a regular collaboration with the Keiskamma Music Academy (Eastern Cape).

Since 2011 CTB has gradually moved towards playing on period instruments. Currently it is the only period ensemble in South Africa that regularly plays in orchestral format, performing most of its annual concerts on period instruments. In 2013 CTB, in collaboration with the Cape Consort, gave the first South African period performance of Handel's Messiah. During November 2016 CTB played for Cape Town Opera's first production to use a period instrument orchestra: Monteverdi's L'Orfeo, directed by Jaco Bouwer and conducted by Erik Dippenaar. In December 2016 CTB was nominated for a kykNET Fiesta award for a programme titled Handel in the Drawing Room presented during the 2016 Klein Karoo Klassique festival. In September 2017 CTB successfully launched the first annual Cape Town Baroque Festival.

In 2015 CTB set up a collaboration with the early music ensemble Collegium Musicum at the South African College of Music, University of Cape Town, through which two student cadets annually receive hands-on training in period performance in CTB projects. The cadet scheme is generously supported by the Claude Leon Foundation. In July 2015 Erik Dippenaar was appointed Artistic Director of CTB, Michael Maas (former CEO of the Artscape Theatre Centre) as Administrative Coordinator and Cheryl de Havilland as Outreach Coordinator.

www.ctbaroque.co.za

PROGRAMME

  • Marco Uccelini (c.1610 – 1680): Bergamasca
  • Trad. Scottish, Orpheus Caledonius (1733): The bush aboon tranquair
  • Francesco Barsanti (1690 – 1775): The bush aboon tranquair from A Collection of Old Scots Tunes (1742)
  • Francesco Geminiani (1687 – 1762): The bush aboon tranquair from A treatise of good taste in the Art of Musick (1749)
  • Gaspar Sanz (1640 – 1710): Canarios
  • Francesco Barsanti (1690 – 1775): Lochaber from A Collection of Old Scots Tunes (1742)
  • Domenico Scarlatti (1685 – 1757): Sonata in C minor, K.99
  • Gaspar Sanz (1640 – 1710): Zarabanda
  • Tarquinio Merula (1595 – 1665): Ciaconna
  • Trad. Scottish, Orpheus Caledonius (1733): Lady Ann Bothwell's lament
  • Francesco Geminiani (1687 – 1762): Lady Ann Bothwel’s Lament
  • Francesco Veracini (1690 – 1768): Scozzese from Sonata IX, Opus 2 (1744)
  • Niel Gow (1727 – 1807): Lament for the Death of his 2nd wife

ADMISSION

  • R120 (adults)
  • *R80 (pensioners)
  • *R70 (UFS staff)
  • *R50 (students, learners and block bookings of 10+)

Tickets available at Computicket or online at http://online.computicket.com/web/

*Please note that tickets for pensioners, students, learners and UFS staff can only be purchased at a Computicket outlet (Shoprite Checkers) or at the doors since a valid card or ID has to be presented to qualify for the above mentioned discount.

ENQUIRIES
Ninette Pretorius (tel. 051 401 2504)


Back
Familiest(r)eke

Description: Familistreke Tags: FamilistrekeName of production: Familiest(r)eke 
Script by: Ray Cooney

Translation by: Wim Vorster
Directed by: Thys Heydenrych 
Venue: Wynand Mouton Theatre
Language: Afrikaans 
Genre: Comedy / Farce 

Age restriction: 14L


Date and times:
 
21 – 24 September 2016 @ 19h30 

Price: R40.00 for adults / R30.00 for students & scholars / R25.00 for pensioners.
Bookings: Computicket (0861 915 8000) 

FAMILIEST(R)EKE is set in Rosekrans hospital, containing the usual mixture of farcical nuts running in and out of doors mistaking everybody for someone else. Dr David Mortimore is about to address a neurologists' convention, which will probably earn him an honorary professoriate. While preparing the final touches to his speech an old co-worker, Jane Tate, arrives and announces that their slight indiscretion years ago resulted in a son, Leslie, who is downstairs at reception desperate to meet his dad.

 

Desperate to hide this catastrophic news from his wife, he is forced to invent not one but two non-existent husbands for Jane and enlist the help of his colleague Dr. Hubert Aucamp. Further complications arise with the presence of a police sergeant, a wandering senile patient, a syringe full of tranquillizer, Dr. Mortimore’s wife, a drugged hospital Matron, Dr. Aucamp’s mother and costumes for the annual hospital pantomime!

This hilarious farce is an Afrikaans translation of Ray Cooney’s “IT RUNS IN THE FAMILY”. FAMILIEST(R)EKE is farce at its best, spinning deliriously out of control and tickling the funny bones, in the true Cooney tradition.

 

 

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